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BA in Acting Programme & module specifications & assessment criteria 2020/21

Programme details may change in future academic years, please consult the “Gold copy” for the given year. Any programme, module and assessment criteria amendments will be approved following consultation of the student body through the School’s academic governance committee framework and in-line with the requirements of the School’s Academic Regulatory Framework.


Contents

1. Programme Title .................................................................................................... 5

2. Programme Accreditation ...................................................................................... 5

3. Final qualification title and level of award ............................................................... 5

4. Exit awards ............................................................................................................ 5

5. Relevant QAA subject benchmarking group(s) ...................................................... 5

6. SITS code .............................................................................................................. 5

7. Approved for the year of study ............................................................................... 5

8. Programme Leader ................................................................................................ 5

9. Pathway Leader ..................................................................................................... 5

10. Aims of the Programme ........................................................................................ 6

11. Criteria for Admission to the Programme ............................................................. 6

11.1 Selection Process ........................................................................................... 6

11.2 Standard Entry Requirements......................................................................... 8

11.3 English Language Requirements .................................................................... 8

11.4 Non-standard Entry Procedure: Direct Entrants and Transfers ...................... 9

12. Programme Outcome at Undergraduate Level ..................................................... 9

13. Programme Structure ......................................................................................... 15

13.1 Programme Duration .................................................................................... 15

13.2 Mode of Delivery (full/part-time/other) ........................................................... 15

13.3 Total Student Learning Hours ....................................................................... 15

13.4 % Split teaching contact hours: self-directed practice & study ...................... 15

14. Teaching & Learning Methodology & Assessment Strategy ............................... 15

14.1 Teaching and Learning ................................................................................. 15

14.2 Assessment .................................................................................................. 17


14.3 Feedback ...................................................................................................... 18

15. Years and Modules ............................................................................................ 19

16. Curriculum Map Relating Programme Learning Outcomes to Modules.............. 20

17. Assessment Regulations .................................................................................... 22

17.1 Programme Module Regulations .................................................................. 22

17.2 Compensation Provisions ............................................................................. 26

17.3 Re-sit After First Attempt .............................................................................. 26

17.4 Failure in Part 3 and the Award of a Lower Qualification .............................. 26

17.5 Academic Withdrawal ................................................................................... 26

17.6 Pass and Award Regulations ........................................................................ 27

17.7 Regulations for Attendance and Engagement .............................................. 28

17.8 Participation in Year 3 Productions ............................................................... 29

17.9 Alternative Assessment Arrangements for Re-sits ........................................ 30

18. Module Specifications ........................................................................................ 31

18.1 Acting Studies 1 ............................................................................................ 31

18.2 Voice and Speech Studies 1 ......................................................................... 34

18.3 Movement Studies 1 ..................................................................................... 37

18.4 Acting Research ........................................................................................... 40

18.5 Rehearsal Projects 1 .................................................................................... 42

18.6 Acting Studies 2 ............................................................................................ 45

18.7 Voice and Speech Studies 2 ......................................................................... 48

18.8 Movement Studies 2 ..................................................................................... 50

18.9 Rehearsal Projects 2 .................................................................................... 53

18.10 Productions ................................................................................................. 57

18.11 Independent Study ...................................................................................... 60

of 77 BA in Acting Gold Copy 2020/21

18.12 Voice and Movement .................................................................................. 65

18.13 Career Preparation ..................................................................................... 67

19. Reading and Resources List .............................................................................. 69

20. Assessment Criteria ........................................................................................... 76

20.1 Undergraduate Acting Assessment Criteria .................................................. 76


1. Programme Title

BA in Acting

2. Programme Accreditation

n/a

3. Final qualification title and level of award

BA (Hons) in Acting / Level 6

4. Exit awards

DipHE in Acting

5. Relevant QAA subject benchmarking group(s)

Dance, Drama and Performance (2019)

6. SITS code

UBARTACTI

7. Approved for the year of study

2020/21

8. Programme Leader

Head of Acting

9. Pathway Leader

n/a


10. Aims of the Programme

This programme aims to:

Provide a practical craft training that will be a lifelong foundation for a career

in professional acting.

Educate students to meet the varied demands of the acting profession in its

current state and also give them the flexibility, imagination and responsibility

to reflect on, contribute to and develop contemporary theatre, and drama in all

media.

Promote each student’s personal and artistic development, and their

integration of the physical, intellectual, emotional and spiritual aspects of

acting, within a collaborative context.

Meet the specific developmental needs of each group of students and the

individuals within it.

Encourage students to take responsibility for reaching their highest level of

creative engagement.

Ensure that students are aware of the transferable skills acquired during the

programme.

11. Criteria for Admission to the Programme

11.1 Selection Process

Applicants for the BA and MA Acting programmes go through an identical audition process. The Department opens applications from June of the year preceding entry and processes them in the order in which they are received. Applications for entry are closed at the end of February.

Applicants attend a First Round Audition, held between October and May. The Department currently processes over 2000 applications per cycle for the 3 year Acting programmes. There is a School-wide appeals process for admissions.

The First Round Auditions are conducted by a panel of two. The First Round panel is usually made up of experienced graduates from the three-year Acting programmes who undertake training conducted by the Head of Acting Training each year before commencing the audition cycle. The audition session consists of a short warm-up session for the whole group led by the panel members, an individual audition, for which the applicant prepares three speeches and a short unaccompanied song, and an interview. The maximum number of applicants at each session is 14 and each session lasts for around 4 hours. The criteria on which the panel makes their decision are: believability, connection and commitment, demonstrated in the audition, and focus, enthusiasm and potential to benefit from the programme, demonstrated in the interview.


Applicants who are successful in the First Round Audition attend a Second Round Audition. Second Round Auditions are conducted by a panel of at least two members of the core staff who teach on the three-year Acting programmes. The format for the Second Round is the same as the First Round, but the panel members pursue a more thorough analysis of a candidate’s capacity to meet the same audition criteria as the First Round. Approximately 300 candidates are seen at Second Round Auditions.

Successful candidates at the Second Round audition will be invited to return for a further two days of Final Recall Auditions. At these auditions each candidate participates in:

Acting Audition Panel 1 (individual work)



Movement Panel (group activity)

Voice (individual sight reading and singing)

Interview (individual)

The Recall Auditions usually take place during May and are conducted by core members of staff including the Director of Drama, the Head of Acting, the Head of Acting Training, Voice, Movement and Academic Studies (Drama), with interviews conducted by the Head of Drama Administration which include a review of the information stated on the candidate’s application including academic qualifications. Each panel looks at the candidate’s ability and potential in reference to the same criteria as the First and Second Round. Between 75 and 100 applicants attend the Recall Auditions.

At the end of the Recall Auditions, the panel members meet to discuss each applicant’s work and to select a cohort of the students who have demonstrated the most potential to benefit from the training. Decisions are made irrespective of whether an applicant is applying at either the undergraduate or postgraduate level. Offers are sent out to successful candidates the week following the Final Recall Auditions.

Approximately 26 students are offered a place each year to begin their three-year programme the following September.

At all rounds of the audition process, candidates are stewarded by past and present students of the Acting programmes, offering support, advice and information at every point in the process. As with the First Round panel members, all audition stewards receive appropriate training and guidance before each cycle.

Students should normally be 18 years old when they begin, as the programme requires a high level of maturity and life experience.

Candidates can audition for a place on the programme up to three times, and no more than once in any audition cycle.


11.2 Standard Entry Requirements

Qualification Level Grade Number required

GCE Advanced Level (A2) Pass (grades A-E) 2

Double GCE Advanced Level (A2 double units)

Pass (grades A-E) 1

Advanced Vocational Certificate of Education (AVCE)

Pass (grades A-E) 2

Double Advanced Vocational Certificate of Education (AVCE double units)

Pass (grades A-E) 1

BTEC (QCF) National Extended Diploma (if awarded after 2010)

PPP 1

BTEC (QCF) National Diploma (if awarded after 2010)

PP 1

BTEC (NQF) National Diploma or Certificate (if awarded before 2010)

Pass 1

BTEC (NQF) National Award (if awarded before 2010)

Pass 2

14-19 Diploma (Progression or Advanced)

Pass 1

Advanced GNVQ Merit 1

Scottish Certificate of Education Pass 4 Higher OR 3 Higher + 3 Standard

Irish Leaving Certificate Grade C or above 5 Higher

International Baccalaureate Diploma 24 points in addition to satisfactory completion of the Theory of Knowledge course, the Extended Essay and CAS

1

European or Welsh Baccalaureate Pass 1

Access to HE Diploma Pass 1

International qualifications can be accepted and a determination on equivalence will be made at the point of application.

11.3 English Language Requirements

Applicants must be completely fluent in the English language. Fluency in English is considered equivalent to an overall score of at least 7.5 in the IELTS Academic examination. Language proficiency is assessed at audition.


11.4 Non-standard Entry Procedure: Direct Entrants and Transfers

In exceptional circumstances, and subject to the approval of the Drama Programme Board, candidates whose abilities match the standards required for entry to a programme but whose formal qualifications do not meet the standard entry requirements may still be considered. These applicants would be expected to provide alternative evidence of their ability to benefit from the programme, including an additional written test.

12. Programme Outcome at Undergraduate Level

These learning outcomes reflect the QAA Benchmark Statements in Dance, Drama and Performance (2007). The programme provides opportunities for students to develop and demonstrate the learning outcomes below.

*Indicates transferable skill.

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A. Technique and knowledge

QAA Benchmarks: Threshold standards in Subject knowledge, understanding and abilities (7.9). On successful completion of this programme the student will be able to:

Code Learning Outcome

A401 Understand a range of vocal, physical and acting techniques for rehearsal.

A402* Comprehend the English language; its structure, codes, poetry, prose and dramatic speech.

A403 Develop a range of movement techniques, both pure and character-based which can be used safely and effectively.

A404 Develop a range of methods of preparing breath and voice which can be used safely and effectively.

A405* Utilise a flexible body, breath and speech system.

A406 Identify theatrical repertoire in its social and historical background, with an overview of Western theatre and an in-depth knowledge of specific areas.

A407* Understand a range of resources and methodologies for research, appropriate to the field.

A408* Be spatially and aurally aware.

A409* Appreciate dramatic texts.


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A601 Employ a range of vocal, physical and acting techniques for rehearsal and performance.

A602 Utilise a range of movement techniques, both pure and character-based, safely and effectively for public performance.

A603 Utilise a range of methods of preparing breath and voice safely and effectively for public performance.

A604* Sustain a flexible and strong body, breath and speech system.

A605* Develop independently a range of resources and methodologies for research, appropriate to the field.

A606* Be spatially and aurally sensitive and imaginative.

A607 Synthesise a range of skills to interpret dramatic texts.

A608 Understand the various roles that contribute to the collective art of professional theatre making.

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A501 Understand a range of vocal, physical and acting techniques for a variety of acting spaces and contexts.

A502 Utilise a range of movement techniques, both pure and character-based, safely and effectively for heightened texts and styles.

A503 Utilise a range of methods of preparing breath and voice safely and effectively for heightened texts and styles.

A504* Utilise a flexible and strong body, breath and speech system.

A505* Employ a range of resources and methodologies for research, appropriate to the field.

A506* Be spatially and aurally responsive.

A507* Analyse and humanize dramatic texts.


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B. Performance and/or creative output

QAA Benchmarks: Threshold standards in Subject-specific skills (7.10). On successful completion of this programme the student will be able to:


B401 Contribute positively in dramatic endeavours.

B402* Engage imaginatively with a variety of human situations.

B403 Display truthfulness and expressiveness in acting.

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QAA Benchmarks: Threshold standards in Subject-specific skills (7.10). On successful completion of this programme the student will be able to:


B501 Contribute effectively in dramatic endeavours.

B502* Project imaginatively into a rich variety of heightened human situations.

B503 Employ truthfulness, expressiveness and passion in acting.

B504* Engage effectively with an audience.

B505 Sustain roles effectively in a wide range of dramatic genres.

B506* Fulfil intensive schedules for showings.

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QAA Benchmarks: Typical standards in Subject-specific skills (7.13). On successful completion of this programme the student will be able to:


B601 Contribute confidently and supportively in dramatic endeavours.

B602* Project imaginatively and with humanity into a rich variety of heightened situations.

B603 Maintain truthfulness, expressiveness and passion in acting.

B604* Engage effectively with a public audience.

B605 Sustain and develop roles effectively in a wide range of dramatic genres.

B606* Fulfil intensive performance schedules.


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C. Communication and Artistic Values

QAA Benchmarks: Typical standards in Generic and graduate skills (7.14). On successful completion of this programme the student will be able to:


C401* Work openly, safely and supportively in an ensemble.

C402* Be self-aware and acknowledge own strengths and weaknesses, accepting constructive criticism.

C403 Be prepared to fail in order to succeed.

C404* Practise trust, respect and generosity of spirit.

C405* Develop artistic curiosity, determination and confidence.

C406* Practise emotional honesty in their work.

C407* Appreciate the conditions in which the creative imagination thrives.

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C. Communication and Artistic Values

QAA Benchmarks: Typical standards in Generic and graduate skills (7.14). On successful completion of this programme the student will be able to:


C501* Maintain a high standard of discipline and readiness in order to work openly, safely and supportively in an ensemble.

C502* Achieve a fruitful balance between emotional involvement and critical detachment.

C503 Commit to the possibility of failure in order to succeed.

C504* Practise and promote trust, respect and generosity of spirit.

C505* Practise and maintain artistic curiosity, determination and confidence in own acting ability.

C506* Practise and promote emotional honesty in their work.

C507* Foster the conditions in which the creative imagination thrives.


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C601*

Promote a high standard of discipline and readiness whilst maintaining an alert and responsive demeanour in order to work openly, safely and supportively in an ensemble.

C602* Utilise self-reflection independently in order to be self-aware and acknowledge own strengths and weaknesses, accepting constructive criticism, and achieving a fruitful balance between emotional involvement and critical detachment.

C603 Use failure and artistic risk taking in order to succeed.

C604* Subscribe to and promote trust, respect and generosity of spirit.

C605* Take responsibility for professional future by maintaining artistic curiosity, determination and confidence in own acting ability.

C606* Practise and promote emotional honesty with insight in their work.

C607* Enhance the conditions in which the creative imagination thrives.

C608 Utilise strategies for dealing with the challenges and opportunities of the acting profession.

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D. Professional protocols

QAA Benchmarks: Threshold standards in Generic and graduate skills (7.11). On successful completion of this programme the student will be able to:


D401* Employ effective time-management and personal organisation skills.

D402* Utilise emotional intelligence and an ability to empathise.

D403* Communicate effectively through the spoken word and body language.

D404* Be self-aware in teamwork and group dynamics.

D405* Prepare appropriately for a variety of rehearsal contexts.

D406* Communicate clearly in written English.


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D501*

Employ effective time-management and personal organisation skills, and have the ability to work well under pressure.

D502* Utilise emotional intelligence and an ability to empathise, adapting behaviour to suit different contexts.

D503* Communicate effectively and professionally through the spoken word and body language.

D504* Maintain self-awareness in teamwork and group dynamics.

D505* Prepare appropriately for a variety of professional contexts.

D506* Communicate effectively in written English.

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D601*

Employ effective time-management and personal organisation skills, and have the ability to thrive under pressure.

D602* Utilise emotional intelligence and an ability to empathise, adapting behaviour to enhance work in different contexts.

D603* Communicate authoritatively and professionally through the spoken word and body language.

D604* Utilise self-awareness responsively in teamwork and group dynamics.

D605* Prepare appropriately and confidently for a variety of professional contexts.

D606* Communicate effectively in written English following guidelines and conventions.


13. Programme Structure

13.1 Programme Duration

3 Years

13.2 Mode of Delivery (full/part-time/other)

Full-time

13.3 Total Student Learning Hours

4800 hours

13.4 % Split teaching contact hours: self-directed practice & study

90% Teaching Contact Hours

10% Self-directed Practice & Study

14. Teaching & Learning Methodology & Assessment Strategy

14.1 Teaching and Learning

The teaching and learning strategies are designed to support the programme aims and learning outcomes. The emphasis is on the individual growth of students as actors in an ensemble. This requires students to be engaged in a continuous developmental process through which they acquire technical and cognitive skills and subject knowledge, apply these creatively and imaginatively within a clearly defined framework of values and attitudes, and reflect on their progress and achievement.

At the beginning of the programme, the emphasis is on classwork, providing students with a firm foundation of technique in voice, movement and stagecraft, and an introduction to repertoire. Within each day’s timetable, students experience a wide range of activities; for example, Voice and Speech, Acting Technique, Movement, Acting Research, Singing. In each subject, students are taught through being set tasks and exercises designed to develop specific skills and to offer opportunities to apply them imaginatively. No subject is discrete, and students are encouraged to apply what they are learning in one class to another. In particular, modules in Rehearsal Projects and Productions are designed to draw together the different components of the programme.


BA in Acting – Interconnectedness of Module Subject Areas

Teaching and learning takes place through practical classes, tutorials, seminars, rehearsals, performances, field trips and private study. Most of the classes are taught continuously through the year, so that students gain by regular practice and exploration. Some classwork and rehearsal in the first and second year is scheduled in week-long blocks, so that students also gain from more intensive practice and exploration. The mixture of regular with intensive practice also reflects the varied nature of professional work. There are opportunities for self-reflection at key points in the programme.

In all classes, rehearsals and feedback, students are encouraged to develop the creative use of their imaginations. Tutors seek to establish and sustain an environment of trust, and working conditions that are physically and emotionally safe and healthy both for the individual and the group.

By the end of the first year, students are expected to be secure in using the techniques of their craft (for example, free and natural use of breath, voice and body; connection with text and dramatic situation; awareness of individual and group space) to the extent that these skills are fully assimilated and they no longer give them conscious thought when in the acting space.

During the second year the emphasis changes, with more of the timetable devoted to Rehearsal Projects, enabling students to apply and integrate their developing skills in a wider and more demanding range of drama, to become more self-sufficient, individually and within an ensemble, in preparing their minds and bodies for rehearsal.

In the final year of the programme, the acquisition of further skills and knowledge is fully integrated in Productions. Students rehearse and perform in a range of public productions which are open to prospective employers. They also undertake an Independent Study and they prepare to begin their careers. The transition from the supportive environment of the training to the varied demands of the profession is a


challenge to many students. The Department provides a range of information and guidance to ease their entry into the profession and encourages a strengthening of their awareness of the knowledge, skills and attitudes they have acquired.

The modules for each year of the programme are taught concurrently throughout the year with summative assessment points occurring at pre-determined intervals. For modules taught through classes, there are two summative assessments (mid-year and end-of-year) of each component in Years 1 & 2, or at the end of a block of teaching; for modules taught through rehearsal and/or performance, there are summative assessments at the end of each project or production.

14.2 Assessment

The programme’s assessment strategy places a strong emphasis on continuous assessment. This approach reflects the nature of an actor's development within the extensive contact hours that students experience in their timetable. Whether in classwork, rehearsal or in performance, continuous assessment reinforces the ethos of rigorous on‐going critique. Whilst acknowledging the significant dimension that the presence of an audience brings to an actor's work, students are strongly encouraged to treat performances and showings as further opportunities for exploration and development of their skills. Similarly, in classwork, exercises concentrate on craft and technique in the context of public performance. This connection between process and performance is an important educational and artistic principle of the programme and tutors frequently and consistently engage students in a consideration of it. It is for this reason that performances and showings are assessed using the same criteria as classwork and rehearsals.

Classwork, rehearsals, showings and performances increase in the level of demand between Years 1, 2 and 3. Students are required to demonstrate accomplishment in response to more challenging texts and exercises. Similarly, written work also has a growing level of demand over the three years as tutors set more testing activities moving from documenting research in Year 1, to analysing research in Year 2, to focussing and communicating analysis in Year 3. Further details concerning written work are provided in the Programme Handbook. This progressive increase in the complexity of the tasks for classwork, rehearsals, showings, performances and written work corresponds to Levels 4, 5 and 6 as appropriate. These levels are identified in each module’s specification.

There are two fundamental forms of assessment within the programme: assessment of classwork, rehearsals, showings and performances; and assessment of written work and vivas. The teaching, learning and assessment strategies promote a joined‐up approach to these two different types of activity by ensuring they share many of the same learning outcomes and assessment criteria. This enhances the students’ understanding that all aspects of their studies are structured in such a way that promotes their development as an actor. The assessment strategy is enshrined in the single set of assessment criteria which has varying criteria for written work and performance/class work. This single document supports students and tutors of diverse disciplines in assessment across all modules and articulates the core ethos of the assessment strategy’s values and principles. It should be noted that the


programme’s assessment criteria have been developed in reference to the principles and values of the School‐wide assessment criteria.

Students are informed about the programme’s learning and assessment strategy on a very regular basis. Programme leaders and tutors ensure this happens at the beginning and end of years, at the annual assessment induction session, at key assessment points and during the regular feedback forums. In addition, when introducing a new learning activity and subsequently during the timetable’s extensive contact hours of rehearsals and classes, tutors ensure that students have a clear appreciation of what is expected of them in order to meet the higher levels of achievement. This on‐going dialogue with students clarifies these levels of achievement in light of the assessment criteria and ensures students know what they need to do in order to improve. This occurs both in a one‐on‐one context and in group settings.

14.3 Feedback

Feedback to the students is an important feature of the programme. Formative feedback occurs organically within classwork and rehearsal, where experimentation and evaluation in the performance of specific exercises is a key element in the learning/teaching strategy. As well, there is a system of regular summative feedback after each Rehearsal Project in the first two years of the programme. After each Rehearsal Project, normally on the same or following day, students are given oral feedback about their progress. There are also frequent opportunities for group feedback. During the final year, emphasis is put on students actively seeking individual feedback, rather than having scheduled times, in order to develop their self-motivation and independence. Group feedback occurs after each production in the final year.

Marks are not normally disclosed to students as this can be unhelpful to the natural development of their acting, which has its peaks, troughs, plateaux and occasional breakthroughs, as well as steady progress. Students are informed that they have the right to ask to see their marks.

If a student’s lack of progress is such that he or she is deemed likely to fail, he or she is informed and notified in writing (with a copy to the Registry) that their work will be under close review by the staff for whatever period is necessary.

At the end of the academic year, students are informed of their progression by letter.


15. Years and Modules

Year 1

Core modules: students must take and pass all of the following:

Title Credits Level

Acting Studies 1 35 4

Voice and Speech Studies 1 35 4

Movement Studies 1 35 4

Acting Research 15 4

Rehearsal Projects 1 30 4

TOTAL 150

Year 2


Title Credits Level

Acting Studies 2 25 5

Voice and Speech Studies 2 25 5

Movement Studies 2 25 5

Rehearsal Projects 2 85 5

TOTAL 160

Year 3


Title Credits Level

Productions 145 6

Independent Study 15 6

Voice and Movement 5 6

Career Preparation 5 6

TOTAL 170


16. Curriculum Map Relating Programme Learning Outcomes to Modules Y

ea

r 1

Module Title Codes

A4

01

A4

02

A4

03

A4

04

A4

05

A4

06

A4

07

A4

08

A4

09

B4

01

B4

02

B4

03

C40

1

C40

2

C40

3

C40

4

C40

5

C40

6

C40

7

D40

1

D40

2

D40

3

D40

4

D40

5

D40

6

Acting Studies 1 ACT1001

Voice & Speech Studies 1

ACT1002

Movement Studies 1 ACT1003

Acting Research ACT1005

Rehearsal Projects 1

ACT1004

Ye

ar

2

Module Title Codes

A5

01

A5

02

A5

03

A5

04

A5

05

A4

06

A5

07

B5

01

B5

02

B5

03

B5

04

B5

05

B5

06

C50

1

C50

2

C50

3

C50

4

C50

5

C50

6

C50

7

D50

1

D50

2

D50

3

D50

4

D50

5

D50

6

Acting Studies 2 ACT2001

Voice & Speech Studies 2

ACT2002

Movement Studies 2 ACT2003


ACT2004


Ye

ar

3

Module Title Codes

A6

01

A6

02

A6

03

A6

04

A6

05

A6

06

A6

07

A6

08

B6

01

B6

02

B6

03

B6

04

B6

05

B6

06

C60

1

C60

2

C60

3

C60

4

C60

5

C60

6

C60

7

C60

8

D60

1

D60

2

D60

3

D60

4

D60

5

D60

6

Productions ACT3006

Independent Study

ACT3011

Voice and Movement

ACT3009

Career Preparation

ACT3010


17. Assessment Regulations

These regulations are in addition to the general assessment regulations for taught programmes in the Academic regulatory framework covering Board membership, attendance at examinations and submission of coursework (including late penalties), extenuating circumstances, external examiners and academic misconduct.

17.1 Programme Module Regulations

Year 1 Modules

Acting Studies 1

To pass the module, students must achieve at least 40% in aggregate across all weighted assessment components and obtain a pass in all Pass/Fail components.

Where a student fails to achieve the module pass mark, all failed components must be re-sat. Where a student fails to pass a pass/fail component, the failed component/s must be re-sat regardless of whether the aggregated mark is 40% or over.

Voice and Speech Studies 1

To pass the module, students must achieve at least 40% in aggregate across all weighted assessment components.

Where a student fails to achieve the module pass mark, all failed components must be re-sat.

Movement Studies 1



Acting Research





To pass the module, students must achieve at least 40% in aggregate across all weighted assessment components. The rules on Qualifying Marks in Rehearsal Projects 1 apply to this module.

At the end of Project 2, students may re-sit the first two projects as a single re-sit requirement only once. This re-sit must be completed and the minimum qualifying mark of 35% achieved before progression to Project 3 will be permitted. At the end of Project 3, students who have not achieved 40% in aggregate across all weighted assessment components for the module may re-sit the module as a single re-sit requirement.

Qualifying Marks in Rehearsal Project 1

Students must achieve a minimum aggregated mark of 35% across the first two projects in order to progress to Project 3. For this purpose, Project 1 and Project 2 will be weighted as follows:

Project 1 50%

Project 2 50%

After Project 1, a student whose marks are a cause for concern will be informed and given guidance about how best to address this situation. After Project 2, marks that fall below the minimum threshold will require the student to re-sit Project 1 and Project 2, as a single re-sit requirement. Where a student fails to achieve the qualifying mark a recommendation may be made to the relevant Assessment Board that the student be made Fail/Withdraw at the end of Project 2.

Successful Completion of Year 1

In order to successfully complete Year 1 and progress to Year 2, a student must pass each module with a minimum mark of 40%, achieve a pass in all pass/fail assessment components and acquire 150 credits. At the end of Year 1, students may re-sit any module or component only once, provided that their average over all modules is 40% or above. The pass mark/average for a year is the aggregate mark of the individual module marks taken proportionally to their credit weighting.

Year 2 Modules

Acting Studies 2




Voice and Speech Studies 2



Movement Studies 2




To pass the module, students must achieve at least 40% in aggregate across all weighted assessment components. The rules on Qualifying Marks in Rehearsal Projects II apply to this module.

There are no re-sit opportunities for this module.

Qualifying Marks in Rehearsal Project 2

Students must achieve a minimum aggregated mark of 35% across the first three projects in order to progress to Project 4. For this purpose, Project 1, Project 2, and Project 3 will be weighted as follows:

Project 1 33.33%

Project 2 33.33%

Project 3 33.34%

After Project 2, a student whose marks are a cause for concern will be informed and given guidance about how best to address this situation. After Project 3, marks that fall below the minimum threshold may result in a recommendation to the School Assessment Board that the student be made Fail/Withdraw at the mid‐year point.


In order to successfully complete Year 2 and progress to Year 3, a student must pass each module with a minimum mark of 40% and acquire 160 credits. At the end of Year 2, students may re-sit any Module, except Rehearsal Projects 2, only once, provided that their average over all modules is 40% or above. The pass mark/average for a year is the aggregate mark of the individual module marks taken proportionally to their credit weighting.


Year 3 Modules

Productions

To pass the module, students must achieve no less than the minimum qualifying mark in all assessment components and achieve at least 40% in aggregate. Only the four highest component marks will contribute to the aggregated mark for the final award classification calculation. The rules on Qualifying Marks in Productions apply to this module.

There are no re-sit opportunities for this module.

Independent Study

Where a student fails to achieve the module pass mark, all failed components must be re-sat. Where a student fails to pass a pass/fail component, the failed component/s must be re-sat regardless of whether the aggregated mark is 40% or over.

Voice and Movement



Career Preparation

To pass the module, students must achieve a pass in the Pass/Fail component.

Where a student fails to achieve a pass, a discreet assessment may be recommended by the Assessment Board.

Qualifying Marks in Productions

In the Productions module a student shall be declared to have passed the module if he/she secures a minimum of 35% in each assessment component, and no less than 40% in aggregate for the module.

Where a student receives a mark of less than 35% for an assessment component in a module where re-sit provisions do not apply a student will not be permitted to progress to the next production, and a recommendation will be made to the relevant Assessment Board for the student to be made Fail/Withdrawn from the programme of study. Where a student is eligible, a recommendation of an interim award will be made.



In order to successfully complete Year 3, a student must pass each module with a minimum mark of 40%, achieve a pass in all pass/fail assessment components and acquire 170 credits.

At the end of Year 3, students may re-sit Independent Study, and/or Voice and Movement, and/or Career Preparation, only once, provided that their average over all Modules is 40% or above. The pass mark/average for a year is the aggregate mark of the individual module marks taken according to the final award calculation.

17.2 Compensation Provisions

Compensation may not be applied between modules.

17.3 Re-sit After First Attempt

Where there has been a first valid attempt, and where a module can be retaken, re-sit provisions will apply to all failed modules. The conditions for re-sit shall be submitted to the Assessment Board for consideration and approval. The fees for re-sits are set out the Student Handbook.

If the Assessment Board permits a student to undertake a re-sit, the failed assessment component or the entire module assessment must be redeemed at the earliest possible opportunity and no later than week 8 of the first term of the following academic year.

A student may re-sit a module, or part of a module only once.

A student who successfully completes a re-sit shall be awarded the credit for the module. Where a successful re-sit has been undertaken, for the purposes of the award calculation, the module mark will be capped at the pass mark.

17.4 Failure in Part 3 and the Award of a Lower Qualification

Where a student fails to meet the requirements for Year 3, having exhausted all permitted re-sit opportunities, but satisfies the requirements for Year 2, then the Assessment Board shall recommend that the lower level qualification associated with Year 2, a Diploma in Higher Education in Acting, will be awarded.

17.5 Academic Withdrawal

Where a student fails to meet the requirements for a particular Year, and is not eligible for the award of a lower level qualification, the Assessment Board shall require the student to withdraw from the Programme.


17.6 Pass and Award Regulations

Diploma in Higher Education in Acting

If a student wishes to cease their studies at the end of Year 2 and has passed all of the modules in Years 1 and 2, the Assessment Board shall recommend that they be awarded a Diploma in Higher Education in Acting.

The mark for the award is based on the assessment of modules taken in Year 2 of the Programme with the following weighting:

Module %

Acting Studies 2 15

Voice & Speech Studies 2 15

Movement Studies 2 15

Rehearsal Projects 2 55

Total 100

The classification of the Diploma Award shall normally be:

Classification Minimum %

Distinction 70%

Merit 60%

Pass 40%

Bachelor of Arts (Hons) in Acting

To qualify for the BA (Hons) in Acting, the student must satisfy the pass requirements for Years 1, 2 and 3. The overall aggregate mark for the Degree shall be calculated using the following percentage marks achieved in years 2 and 3:

Module %

Rehearsal Projects 2 20

Voice & Movement 10

Independent Study 15

Production 55

Total 100

The classification of the Degree Award shall normally be:

Classification Minimum %

Class I 70%

Class II Upper Division 60%

Class II Lower Division 50%

Class III 40%


17.7 Regulations for Attendance and Engagement

In classes, rehearsals, showings and performances, and for submission of written work.

Students are reasonably expected to attend and fully engage with all scheduled classes and learning activities, including all rehearsals, showings and performances in which they are participating (for Year 3 Productions also refer to the rules pertaining to ‘Participation in Year 3 Productions). Deadlines for written work are announced well in advance, taking into account rehearsal and performance schedules.

Whilst acknowledging that unforeseen circumstances do sometimes occur that prevent a student from attending or engaging fully, nonetheless the programme requires a very high level of attendance and engagement in order that a student can meet the learning outcomes, fulfil the requirements of continual assessment and achieve a pass. Additionally, a high level of attendance and engagement is required in order that a student does not adversely affect the learning experience of other students as they study and collaborate in an ensemble. Whilst acknowledging there may not be 100% attendance for good reason, this does not imply that a small amount of inexcusable absence is acceptable.

When assessing a student’s work, the quality of the work is a key factor, however excused absence both generally and/or at specific assessment points may result in a reduction of marks and possible failure of a module if the learning outcomes have not been met. Unexcused non-participation in a Rehearsal Project showing, Production or other key assessment point results in a zero mark for that project/production/component.

In case of persistent problems with attendance, punctuality or engagement, students face action under the School’s Course Participation Regulations as well as jeopardising the result of their module.

Extenuating circumstances for non-participation, late submission or non-submission of written work include, but are not limited to serious chronic illness and death or serious illness of close family member. Circumstances within the control of a student, or circumstances which are foreseeable and avoidable would not normally be classed as extenuating circumstances. All applications for Extenuating Circumstances are considered under the School’s Extenuating Circumstances policy.

If a student is seriously unwell and cannot come in to School, the student must contact Production Arts & Drama Administration, preferably before their first scheduled class is due to start, but no later than 9.30am and will need to phone in on subsequent days unless formally signed-off sick.

If, for good reason, a student wants to be excused in advance from a scheduled learning activity the student must ask the Head of Acting for permission prior to the proposed absence, and if it is granted, inform the relevant tutor(s) or director(s) in good time.


Absence due to ill health affecting a key assessment point must be covered by adequate medical certification (as defined in the School’s policy ‘Attendance at examinations & submission of coursework’ in ‘General assessment regulations for taught programmes’). The requirement to provide adequate medical certification as defined in this School policy may also be invoked in the case of persistent problems with attendance or engagement due to ill health.

Requests for an extension to a submission deadline should be submitted to the Head of Academic Studies (Drama). Where the Head of Academic Studies (Drama) considers there to be good reason for allowing an extension, a revised submission date shall be set and the student informed. The student is expected to comply with all submission requirements for written work regardless of whether an extension has been approved or not. Penalties for late submission are set out in the School’s ‘General assessment regulations for taught programmes’.

17.8 Participation in Year 3 Productions

Students undertaking the Independent Study (Research Portfolio) are required to participate in, and achieve the qualifying mark in five assessment components in the Productions module.

Students undertaking the Independent Study (Dissertation or Solo Performance) are required to participate in, and achieve the qualifying mark in at least four assessment components in the Productions module.

Students who opt for Independent Study (Dissertation or Solo Performance) will normally be required by the Head of Acting to opt out of a block period of a minimum of four weeks of the Productions Module and may be excused participation in and achievement of the qualifying mark in one assessment component in the Productions module.

A student may, at the discretion of the Head of Acting, substitute a production component/s for professional work, provided that the professional work is demonstrated to be of equal or greater educational equivalence to the substituted production component/s and will lead to a performance which can be practicably assessed by the internal examiners and reviewed and moderated by the External Examiner (e.g. a live performance within London, a generally- exhibited film or TV work). On a case-by-case basis, the Head of Acting and senior academic staff in the Drama Department will determine the equivalency of the work, taking into account the educational experience for each professional engagement and will also determine the equivalency in terms of assessment component/s. If a student wishes to substitute professional work for more than three components (the total being five required for participation and assessment of the Productions module) a Scheme of Study will be drafted and submitted to the Drama Programme Board for approval. All assessed work in the Productions module is subject to the rules on Qualifying Marks. A student may substitute professional work for no more than four production component marks.

When a student is given dispensation to substitute professional work for a production, and when the casting for that production has already been published,


that student may be responsible for covering any reasonable costs the Drama Department may incur in recruiting a replacement actor for their role.

A student undertaking professional work in place of a production will be required to comply with all School regulations and any other regulations governing their programme of study.

17.9 Alternative Assessment Arrangements for Re-sits

Where a student is entitled to re-sit a failed assessment component, but it is not deemed practicable to replicate the method of assessment (i.e. where a module component is assessed by means of continuous assessment), an appropriate alternative re-sit assessment will be set wherever possible, taking into account the module level and the learning outcomes the student is expected to demonstrate. All alternative assessments shall be approved by the relevant Assessment Board.


18. Module Specifications

18.1 Acting Studies 1

1. Module Title Acting Studies 1

2. HE Level 4

3. Credit Value 35

4. SITS module code ACT1001

5. Location of Delivery Guildhall School

6a. Module Type Taught

6b. Applicable in the year of study 1

7. Module Leader Head of Acting Training

8. Department Acting

9. Aims of the Module

This module aims to:

Begin a craft training in acting techniques that will lay a broad foundation for further

development.

Address some of the fundamental questions of acting and some of the different

means of actors’ expression.

Develop awareness of individual and group identity and responsibility, encouraging

students to work openly within an ensemble.

Show the connection between voice, movement and acting.

Introduce methods of integrating experience and imagination to achieve truth in

acting.

Indicative content:

Acting Exercises 1

Acting Exercises 2

Acting Exercises 3

Acting Technique

Improvisation

Acting on Camera 1


10. Teaching & Assessment Methodology

Teaching

The teaching content is drawn from exercises developed by 20th century acting teachers and theorists and further developed by Guildhall School staff, past and present. Much of the work consists of improvisation and storytelling, with some text work.

Acting Exercises 1 is a series of imaginative exercises undertaken in Term 1, developed from work devised by Chattie Salaman.

Acting Exercises 2 is a series of technical exercises undertaken in Term 1, developed from work devised by Peter Barkworth, Wyn Jones and others.

Acting Exercises 3 is a series of classes in which students develop their sense of self.

Acting Technique is a series of classes addressing some of the principles and terminology devised by Konstantin Stanislavski and followers such as Michael Chekhov and Uta Hagen, and applying them in practice.

Improvisation is a series of classes exploring group and spatial awareness, introductory mime techniques, physical improvisations and storytelling.

Acting on Camera 1 introduces the special requirements of working front of a camera, and the ways in which the technical processes of screen acting can accommodate the acting techniques already studied.

Assessment

Assessment marks are given in each component of each module at the mid‐year and end‐of‐year points, or at the end of a block of teaching. These marks record the continuous assessment of that period of study. Each component is marked by the tutor.

11. Learning outcomes: On successful completion of the module students will have achieved various skills and abilities. Please refer to the Programme Specification for descriptions of the skills codes listed below:

A401, A405, A407, A408, A409 B401, B402, B403 C401, C402, C403, C404, C405, C406, C407 D401, D402, D403, D404, D405


12. Module Pattern

a) Scheduled Teaching & Learning hours

KIS Type Contact Hours

Practical classes/workshops 315

b) Assessment

Assessment Component

Detail (e.g. component parts, length in time or words)

KIS code

% Weighting

% Pass Mark

Practical work

Acting Exercises 2 KPE 30% 40% Aggregated Practical

work Acting Technique KPE 35%

Practical work

Improvisation KPE 35%

Practical work

Acting Exercises 1 – Satisfactory participation and engagement

KPE Pass/Fail Pass/Fail

Practical work

Acting Exercises 3 - Satisfactory participation and engagement


Practical work

Acting on Camera 1 - Satisfactory participation and engagement


c) Independent Study hours Notional Hours

Personal practice/study 35

d) Total student learning hours for module 350


18.2 Voice and Speech Studies 1

1. Module Title Voice and Speech Studies 1

2. HE Level 4

3. Credit Value 35





7. Module Leader Head of Voice




Lay the foundation for the development of a healthy, flexible, strong, natural

and expressive voice.

Raise awareness of the range and significance of English speech.

Explore the interdependence of breath, voice and movement.

Develop connections between voice, speech and the expression of thought,

emotion and imagination.

Indicative content:

Voice and Speech

Poetry

Text

Singing

Music


Teaching

The teaching content is drawn from the approach to voice and speech developed over the last 30 years by Patsy Rodenburg.


Voice and Speech provides the foundation work in relaxation, breath and freeing the voice, leading on to more intensive work on range, resonance, support and articulation. Different uses of sound and language are explored, including the use of elaborated and restricted codes of language. Phonetics are introduced, with some work on Received Pronunciation.

Poetry introduces styles of language and verse structure from Anglo-Saxon to the 20th and 21st century, including students’ own writing, and includes regular poetry workshops when each student speaks by heart a poem of a specific period.

Text introduces styles of language in prose, and includes practice of sight-reading.

Singing increases the vocal range and is linked with the speaking voice. This class is linked with;

Music, consisting of classes in musical notation which culminate in a group presentation of Music Hall songs.

Assessment

Assessment marks are given in each component of the module at the mid‐year and end‐of‐year points, or at the end of a block of teaching. These marks record the continuous assessment of that period of study. Each component is marked by the tutor.


A401, A402, A404, A405, A408 B401, B402 C401, C402, C403, C404, C405, C406, C407 D401, D402, D403, D404

12. Module Pattern




b) Assessment

KIS Assessment Component


KIS code

% Weighting % Pass Mark

Practical work Voice and Speech KPE 55% 40% Aggregated Practical work Poetry KPE 15%

Practical work Text KPE 15%

Practical work Music KPE 15%



12. Module Pattern




18.3 Movement Studies 1

1. Module Title Movement Studies 1

2. HE Level 4

3. Credit Value 35





7. Module Leader Head of Movement




Lay the foundation for safe and expressive use of the body.

Enable the release of breath and spine to increase mobility, co-ordination and

relaxation.

Explore the interdependence of breath, movement and voice.

Develop students’ strength, co-ordination, posture and walk.

Develop students’ precision in movement, and their ability to repeat with freshness.

Develop awareness of personal and shared space.

Develop awareness of a wide range of physical behaviour and rhythms as a basis for

a vocabulary of imaginative movement.

Develop an environment of trust.

Indicative content:

Pure Movement

Movement Improvisation

Tumbling

Historical Dance

Corrective Movement

Stage Combat



Teaching

Classes cover a range of movement skills, introducing systemic and exploratory exercises.

Pure Movement introduces the practice of natural, functional movement appropriate to actors; it lays the foundation of physical work, teaching how to release the spine and breath, and develop flexibility and demonstrating how breath and voice cannot be divorced from movement. Laban work is included, with the introduction of some of the related terminology, together with work based on Litz Pisk and Moshe Feldenkreis.

Movement Improvisation covers a series of exercises developing observation and imagination and the application of movement skills to transform the body. It begins with Animal Studies, studying the physical behaviour and rhythms of different animals, helping a move away from personal rhythms and thought patterns towards an understanding of instinctive behaviour and its relationship to human behaviour. This forms the basis for further work on physical characterisation. Later work includes imaginative study of the qualities of movement associated with materials, energies, the elements and physicalisation of the Seven Deadly Sins.

Tumbling introduces a comprehensive movement sequence based on Grotowski’s ‘The Cat’, which stretches and frees the body physically. Preliminary work on tumbling focuses on physical accuracy, strength and safe falling, and develops partnership coordination and trust. Classes also explore the use of space.

There are supplementary classes in Corrective Movement to help students achieve balanced posture and alignment with weight distributed evenly.

Historical Dance introduces a wide range of social dances from the Middle Ages, Italian Renaissance and 19th and 20th centuries, helping to create some understanding of period style and behaviour. The work develops walking in parallel, balance, spatial awareness and partner work.

Stage Combat develops practical skills in rehearsing onstage fights, beginning with Elizabethan weaponry and supplementing work on period style ethos. It encourages centering of body weight, co-ordination, focus of physical energy and develops partnership co-ordination and trust.

Assessment

Assessment marks are given in each component of the module at the mid‐year and

end‐of‐year points, or at the end of a block of teaching. These marks record the continuous assessment of that period of study. Each component is marked by the tutor.



A401, A403, A405, A408 B401, B402 C401, C402, C403, C404, C405, C406, C407 D401, D402, D403, D404

12. Module Pattern




b) Assessment



KIS code

% Weighting

% Pass Mark

Practical work Pure Movement KPE 25% 40% Aggregated Practical work Movement Improvisation KPE 25%

Practical work Tumbling KPE 20%

Practical work Historical Dance KPE 20%

Practical work Stage Combat KPE 10%



Self-directed group rehearsal/study 5



18.4 Acting Research

1. Module Title Acting Research

2. HE Level 4

3. Credit Value 15





7. Module Leader Head of Academic Studies (Drama)




Place theatre and drama in a broad historical context.

Introduce and encourage exploration of a wide range of dramatic genres.

Develop critical awareness of the challenges and opportunities presented to actors.

Introduce and develop methods of researching background and making a

presentation.

Indicative Content:

Acting Research class

Tutorials


Teaching

The module covers study of selected plays representative of major periods of Western theatre, from Ancient Greek to modern, in their cultural context, through reading assignments, research and reports, practical exercises, lectures and seminars. Short pieces of written work include self-reflection and character study and introduce students to a variety of research methodologies to support and enhance their imaginative work in class and rehearsal. These are collated in the Acting Research Portfolio.


Assessment

Assessment marks are given for classwork at the mid‐year and end‐of‐year points. This is marked by the tutor. These marks record the continuous assessment of that period of study. The Acting Research Portfolio is marked by the tutor usually at the end of the spring term.


A402, A406, A407, A408, A409 B401, B402 C401, C402, C403, C404, C405, C406, C407 D401, D402, D403, D404, D405, D406

12. Module Pattern




b) Assessment



KIS code

% Weighting

% Pass Mark

Folio Written Work

Acting Research Portfolio KCW 30% 40% Aggregated

Practical work Class Work KPE 70%



Library-based study 10



18.5 Rehearsal Projects 1

1. Module Title Rehearsal Projects 1

2. HE Level 4

3. Credit Value 30



6. Module Type Rehearsals

6. Applicable in the year of study 1

7. Module Leader Head of Acting Studies




Develop response to a range of theatrical repertoire and directorial approaches.

Encourage application and integration of knowledge, understanding and skills

acquired in voice, movement, acting and acting research.

Promote each student’s work within a collaborative framework.

Encourage students to begin to take responsibility in preparing and rehearsing a role.

Encourage self-reflection.

Indicative content:

Project 1

Project 2

Project 3

Oral notes/tutorials


Teaching

The content of Rehearsal Projects may vary to suit the needs of the group and of the individuals within it. Normally there are three Projects.

Project 1 (usually seven weeks long) is based on a selection from the English Medieval Mystery Plays, which offer clear, yet three-dimensional characters and conflicts. Language is heightened, but the verse lines do not make excessive


demands on students’ technical capabilities. The following principles of acting are applied:

the importance of researching the world of the play, both academically and imaginatively;

the necessity of an accurate examination of the text to find clues to situation and character;

the need for speech and movement to be a consequence of thought and feeling;

the need to justify moves and instructions that the director gives in rehearsal;

the process of adapting to the space and the other actors in it.

The approach to the content is non-denominational, but the material may awaken students to the spiritual value of theatre as well as its emotional and intellectual aspects.

Project 2 (usually five weeks long) is normally based on a modern play where the application of process and research still applies, whether or not the play appears more ‘accessible’ at first glance. The same principles are applied and reinforced.

Project 3 (usually ten weeks long) is normally based on a Russian naturalistic play by Anton Chekhov or one of his contemporaries, such as Ivan Turgenev or Maxim Gorki, offering the opportunity to work on developing an understanding of subtext and of how thought motivates language and movement. The teachings of Konstantin Stanislavski are a major reference point.

Assessment

Assessment marks are given at the end of each project. Each project is marked by the Director taking into account rehearsals and showings. Each project is also marked by staff tutors taking into account showings. The total mark for each project is composed of a Directors’ mark weighted at 50% and a staff tutors’ marks, also weighted at 50%. The staff tutors’ marks comprises Acting skills (40%), Vocal skills (30%) and Movement skills (30%). After a showing of each project, staff meet with the Director to discuss each student’s work. Marks are awarded independently by tutors and the Director following this meeting. The Head of Acting awards a mark for overall achievement at the end-of-year point. The rules on Qualifying Marks apply to this module.


A401, A402, A405, A406, A407, A408, A409 B401, B402, B403 C401, C402, C403, C404, C405, C406, C407 D401, D402, D403, D404, D405


12. Module Pattern



Group tutorial 3

One-to-one class/tutorial 7


b) Assessment



KIS code

% Weighting

Qualifying mark

% Pass Mark

Practical work Project 1 KPE 22% 35% 40% Aggregated

Practical work Project 2 KPE 22%

Practical work Project 3 KPE 44% N/A

Practical work Overall achievement in projects 1, 2 and 3

KPE 12% N/A







18.6 Acting Studies 2

1. Module Title Acting Studies 2

2. HE Level 5

3. Credit Value 25



6. Module Type Taught; projects


7. Module Leader Head of Acting Studies




Extend craft training in acting techniques, including acting on camera and

microphone, to bring students towards a professional standard.

Address further fundamental questions of acting and increase actors’ range and

means of expression, placing Western methodology in the context of global

traditions.

Strengthen the connection between voice, movement and acting.

Develop further awareness of individual and group identity and responsibility, and

additionally develop awareness of actor/audience relationship.

Indicative content:

Acting Technique

Improvisation

Mask

Acting on Camera 2

Acting on Microphone

Preparation for the Profession


Teaching

This content extends the principles and methods of Acting Studies 1 whilst introducing distinctive new demands.


Acting Technique prepares students for some of the acting challenges of performing to an audience in a fully-staged production. It includes the specific requirements of various lit stages, backstage areas and auditoria, such as playing within a proscenium arch, playing comedy.

Improvisation work draws on practitioners such as Keith Johnstone, on approaches to physical and experimental theatre, including circus, developing towards heightened imagination and individuality.

Mask work is introduced using masks as tools for exploration of the relationship between freedom/anarchy and inhibition/protocol, developing heightened instincts and imagination, as well as investigating transformation on stage.

Acting on Camera 2 requires students to work using more demanding material than in Year 1 and with more challenging filming conditions and technical requirements.

Acting on Microphone includes work on the skills required for voiceover or other forms of microphone recorded media.

Preparation for the Profession includes a series of activities on preparing for auditions and other professional contexts. There are talks introducing students to the professional life of an actor. Topics include: membership of British Actors’ Equity; the role of agents and casting directors; Spotlight casting directory; National Insurance, Social Security and income tax for freelance actors; setting up a professional company; photographs and CVs.

Assessment

Assessment marks are given in each component of each module at the mid‐year and end‐of‐year points, or at the end of a block of teaching. These marks record the continuous assessment of that period of study. Each component is marked by the tutor.


A501, A504, A505, A506, A507 B501, B502, B503, B504, B505 C501, C502, C503, C504, C505, C506, C507 D501, D502, D503, D504, D505

12. Module Pattern




b) Assessment



KIS code

% Weighting

% Pass Mark


12. Module Pattern

Practical work Acting Technique KPE 20% 40% Aggregated Practical work Improvisation KPE 35%

Practical work Mask KPE 15%

Practical work Acting on Camera 2 KPE 15%

Practical work Acting on Microphone KPE 15%

Practical Work Preparation for the Profession







18.7 Voice and Speech Studies 2

1. Module Title Voice and Speech Studies 2

2. HE Level 5

3. Credit Value 25



6. Module Type Taught


7. Module Leader Head of Voice




Extend the flexibility, strength and expressiveness of the voice, so as to adapt to a

range of texts and of spaces.

Strengthen the integration of voice, movement and acting.

Develop expressive skills in heightened texts such as Shakespeare.

Extend awareness of speech in its cultural context.

Indicative content:

Voice and Speech

Shakespeare

Dialects

Singing


Teaching

This content extends the principles and methods of Voice and Speech Studies 1 whilst introducing distinctive new demands.

Voice and Speech develops students to become self-sufficient in warming up their voices safely and effectively and explores codes of language and circles of concentration.


Dialects develops methods of working in accents and dialects with continued work on Received Pronunciation, and introduces heightened Received Pronunciation.

Shakespeare involves intensive text work, beginning with sonnets and continuing into monologues and scenes.

Singing engages students with both individual and ensemble singing lessons to extend vocal and expressive range, and engages with a more demanding repertoire.

Assessment



A501, A503, A504, A506, A507

B501, B503, B504

C501, C502, C503, C504, C505, C506, C507

D501, D502, D503, D504

12. Module Pattern




Supervised time in studio/workshop/productions/rehearsals 5

b) Assessment



KIS code

% Weighting

% Pass Mark

Practical work Voice and Speech KPE 40% 40% Aggregated Practical work Shakespeare KPE 30%

Practical work Dialects KPE 15%

Practical work Singing KPE 15%





18.8 Movement Studies 2

1. Module Title Movement Studies 2

2. HE Level 5

3. Credit Value 25





7. Module Leader Head of Movement




Extend the flexibility, strength and expressiveness of the body, so as to transform

physically.

Strengthen the integration of voice, movement and acting.

Develop ways of physicalising a range of characters and dramatic situations, through

stillness, movement and transformation.

Extend awareness of the social and psychological context of movement and posture.

Sustain an environment of trust.

Indicative content:

Pure Movement

Mask

Historical Dance

Stage Combat

Acrobatics

Show Dance


Teaching

The content extends the principles and methods of Movement Studies taught in Year 1 whilst introducing distinctive new demands.


Pure Movement develops students’ ability to warm up their own bodies safely and effectively, increases their strength, stamina and flexibility and extends their physical expressive vocabulary.

Mask work introduces neutral masks as tools for exploring physicality, alignment and pure movement.

Historical Dance and Stage Combat continue, developing more complex technical and applied movement skills and partner work.

Acrobatics is introduced, extending physical accuracy, strength, safe falling and partner co-ordination.

Show Dance is introduced to increase flexibility, agility, sense of rhythm and movement repertoire.

Assessment



A501, A502, A504, A506 B501, B503, B504 C501, C502, C503, C504, C505, C506, C507 D501, D502, D503, D504

12. Module Pattern





b) Assessment



KIS code

% Weighting

% Pass Mark

Practical work Pure Movement KPE 30% 40% Aggregated Practical work Mask KPE 15%

Practical work Historical Dance KPE 15%

Practical work Stage Combat KPE 15%

Practical work Acrobatics KPE 15%

Practical work Show Dance KPE 10%



12. Module Pattern





18.9 Rehearsal Projects 2

1. Module Title Rehearsal Projects 2

2. HE Level 5

3. Credit Value 85



6a. Module Type Rehearsal


7. Module Leader Head of Acting Training




Develop response to a varied and demanding theatrical and dramatic repertoire.

Extend awareness of directorial approaches.

Encourage application and integration of further knowledge, understanding and skills

in voice, movement and acting.

Promote each student’s continuing developing of acting within a collaborative

framework which includes the audience.

Encourage self-reflection on the acting process.

Encourage students to take responsibility for preparing and rehearsing a role.

Indicative content:

Project 1

Project 2

Project 3

Project 4

Project 5

Project 6

Oral notes/tutorials



Teaching

This module extends the work done in Rehearsal Projects 1 in terms of content and development. Each project culminates in one or two showings to tutors and students in the Drama Department, with outside guests invited on occasion. While still offered as work-in-progress, these showings require students to address technically the actor/audience relationship and to put into practice lessons learnt in the first showing into the second. In addition, the range of repertoire and diversity of genres engages students in more demanding vocal, physical and acting challenges.

The content and order of projects undertaken varies to suit the needs of each year group. Typically, there are six projects (indicative examples below), two in each term, offering the following acting challenges:

a) A 20th/21st century play-text or a devised project of substantial socio-political content,

requiring students to extend their dramatic awareness and expressiveness beyond

the personal and domestic situation of the characters to a wider social sphere, e.g.

plays by Caryl Churchill, David Edgar, David Hare, Harold Pinter.

b) A heightened comedy, from the period 1660 to 1730, requiring students to explore

complex, heightened language, elaborate manners and direct relationship with the

audience, while connecting with the truth of character and situation.

c) A Greek tragedy, requiring students to extend their vocal and emotional range.

d) A musical, exploring the emotional need that moves a character into song and dance,

requiring a high level of vocal and physical energy and technical accuracy, while

connecting with the truth of character and situation.

e) A project designed to address the particular needs of a year group, offering new

challenges in terms of dramatic language, e.g. plays by George Bernard Shaw,

Oscar Wilde, Alan Ayckbourn, Noël Coward and Joe Orton.

f) A Shakespeare play, requiring emotional, vocal and physical energy and power, and

a mature understanding of text, dramatic situation and human dilemma.

g) A television/film project, exploring the demands of working on camera, requiring

students to explore their camera acting technique whilst meeting some of the

professional challenges related to intensive filming schedules and extensive

independent preparation.

Students attend seminars to extend and diversify their research methodologies and to pursue further useful insights into the acting process. Tutors and directors stimulate independent inquiry and diverse methods of preparation by setting specific research topics as appropriate to each project.

Seminars support students in recording this in notational, graphic and other mixed media formats. This forms the Acting Research Portfolio and requires students to engage in more advanced focussing of research and self-reflection concerning their acting.


Assessment

Assessment marks are given at the end of each project. Each project is marked by the Director taking into account rehearsals and showings. Each project is also marked by staff tutors taking into account showings. The total mark for each project is composed of a Directors’ mark weighted at 50% and a staff tutors’ marks, also weighted at 50%. The staff tutors’ marks comprises Acting skills (40%), Vocal skills (30%) and Movement skills (30%).

After a specified showing of each project, staff meet with the Director to discuss each student’s work. Marks are awarded independently by tutors and Director following this meeting. The Acting Research Portfolio is marked by the Head of Academic Studies (Drama). The Head of Acting awards a mark for overall achievement at the end-of-year point. The rules on qualifying marks apply to this module.


A501, A502, A503, A504, A505, A506, A507 B501, B502, B503, B504, B505, B506 C501, C502, C503, C504, C505, C506, C507 D501, D502, D503, D504, D505, D506

12. Module Pattern



Group tutorial 30



b) Assessment



KIS code

Weighting %

Qualifying Mark

% Pass Mark

Folio Written Work

Acting Research Portfolio

KPE 8% N/A 40% Aggregated Practical work Project 1 KPE 14% 35%






Practical work Projects 1 through 6 - Overall achievement

KPE 8% N/A




12. Module Pattern





18.10 Productions

1. Module Title Productions

2. HE Level 6

3. Credit Value 145



6a. Module Type Rehearsal and performance


7. Module Leader Head of Acting




Provide students with a variety of opportunities to develop their craft to professional

level and perform to the public.

Extend knowledge of repertoire and awareness of directorial approaches.

Showcase students’ work to prospective employers and agents.

Set a standard of excellence in ensemble theatre.

Encourage students to take responsibility for their artistic and professional

development.

Indicative content:

Production 1

Production 2

Production 3

Production 4

Production 5

Show Reel


Teaching

This module offers a balance between training and showcasing. Each student is cast in roles of varying size, scope, character and genre in at least five productions. Each production is professionally directed and designed, rehearsed for four to five


weeks and has six or more performances, with full support from the Technical Theatre Department and support from the Music Department if appropriate. Agents, casting directors and other potential employers are invited to each production, which are also attended by the general public.

The plays are selected and cast by the Director of Drama and the Head of Acting, in consultation with Heads of Voice, Movement and Academic Studies. They also appoint the directors. The designers are appointed in collaboration with the Director of Technical Theatre and Associate Producer. Productions take place in the School’s Silk Street Theatre, Milton Court Theatres or at other venues, such as The Pit at the Barbican. Typically, three productions include all or most of the final year company and five are rehearsed with a smaller company and performed back-to-back with another production/s.

The repertoire varies to suit the needs of the individuals within each year group, offering as many challenging opportunities as possible to as many of the year as possible. It normally includes Shakespeare and/or his contemporaries and a musical production, together with a range of both modern and period plays.

When casting, the Head of Acting and the Director of Drama take into account students’ level of achievement by the end of the second year and also consider their progress during the year. Students are mainly cast to their strengths in a range of roles which will best serve their current capabilities; they are given opportunities during the year to develop their range and skills and their ability to sustain, and to exceed their former grasp. Where a student’s progress justifies it in the view of senior staff, they are cast in a role central to the development of the play, but a student will not be cast in a protagonist role that staff do not believe he/she is ready to play and where there might be a risk to the viability of the production as a whole or to the progress of other students.

In addition, students undertake work in acting on camera. This forms part of an individual show reel and shares the same aims as theatre productions in supporting students in showcasing their work to prospective employers and agents. This activity is unassessed. Students are required to comply with the rules concerning attendance, participation and engagement.

Should a student opt to participate in the Solo Performance or Dissertation options in the Independent Study module, they will normally not be able to participate in one of the productions out of the final year’s repertoire.

Assessment

Assessment marks are given at the end of each production. Each production is marked by the Director who awards a mark assessing against a standard appropriate to entry to the profession taking into account rehearsals and performances. Each production is also marked by staff tutors each of who award a mark assessing the actor’s work in performance and moderated by the External Examiner. The total mark for each production is composed of Directors’ marks (36%) and two Internal Examiners’ marks (32% and 32%).


The Internal Examiners assess independently from each other and then meet to discuss their marks. Where there is a variance of greater than 6% in a student’s marks, the Internal Examiners should consider at their meeting whether there is a legitimate reason for the discrepancy such as the consistency of a student’s work across the assessed performances, or whether there may have been deviation from the assessment criteria, in which case the Internal Examiners may revisit their marks and in light of the discussion moderate their marks accordingly. The rules on Qualifying Marks and Participation in Productions apply to this module.


A601, A602, A603, A604, A605, A606, A607, A608 B601, B602, B603, B604, B605, B606 C601, C602, C603, C604, C605, C606, C607, C608 D601, D602, D603, D604, D605

12. Module Pattern




b) Assessment



KIS code

Weighting %

Qualifying Mark

% Pass Mark

Practical work

Production KPE 25% 35% 40% Aggregated

Practical work

Production KPE 25% 35%

Practical work


Practical work


Practical work

Production KPE 0% 35% Only 4 highest component marks count to module aggregate


The balance between Scheduled Teaching & Learning hours and Independent Study Hours depends on the directorial approach and the rehearsal schedule for each production; the number of hours per production may also vary according the role undertaken by each student. Other scheduled hours include coaching, wardrobe calls, hair and make-up calls.

N/A



18.11 Independent Study

1. Module Title Independent Study

2. HE Level 6

3. Credit Value 15



6a. Module Type Independent study with tutorial support


7. Module Leader Head of Academic Studies (Drama)




Develop a spirit of independent inquiry.

Encourage further exploration of the art and language of acting.

Extend knowledge and understanding of historical or contemporary theatre

and drama.

Encourage research, appropriate to the field of acting.

Towards the end of the second year, students select one of the following options:

Dissertation


Solo Performance

The module is mainly self-directed study with additional tutorial support.


Dissertation Teaching

Students select an area of study in consultation with the Head of Academic Studies (Drama), and undertake independent research. The topic is selected on the basis of the student’s personal line of inquiry and of its general relevance to theatre, drama or acting. Topics have included: study of the work of a specific theatre company, theatre or film director, actor or dramatic genre; study of a particular method of vocal,


physical or acting technique; the semiotics of theatre; aspects of the acting profession; application of theatre, drama and acting to other fields of life; application of other fields of study to theatre, drama and acting. Students are expected to relate the topic to their own development. In term 1, students submit preliminary work on the Dissertation to the Head of Academic Studies (Drama).

Typically, between October and May each student has one block period of a minimum of four weeks to work on this activity. During this period, students will normally not be able to participate in one of the productions out of the final year’s repertoire. Students submit a progress report, outlining the topic and their approach, and indicating the sources used. This is discussed in a tutorial. Further tutorials refine the student’s approach to the topic which is expected to include an element of self-reflection, and the structure of their dissertation. They submit a first draft, which is discussed in a tutorial. At the end of the block, they submit a final draft of 6000 – 7500 words, plus a list of bibliographical and other sources.

Assessment

Assessment marks are given at the end of the period of study/block out. The final submission is assessed by two internal examiners and moderated by the External Examiner.

The Internal Examiners assess independently from each other and then meet to discuss their marks. If there is a variance of greater than 6%, the Internal Examiners revisit their marks and in light of the discussion moderate their marks accordingly.


Teaching Towards the end of the second year, students attend a tutorial outlining the requirements in creating a portfolio in the forthcoming year. Between September and May of Year 3 each student undertakes appropriate research for each production and character in which they have been cast (i.e. each component of the Productions Module). This may involve interviews, further reading or extended exploration and application of approaches to performance explored in the programme in order to prepare for the world of the play and their character. Whilst compiling their research, students also write self-reflectively about their journey in preparation and performance. The Portfolio may contain images, self-reflective journal, annotated script and other multi-media research materials (including DVD’s and website references) plus a list of bibliographical and other sources. During the summer term, students submit a complete Portfolio of approximately 6000 – 7500 words.

Assessment

Assessment marks are given at the end of the penultimate production. The final submission is assessed by two Internal Examiners and moderated by the External Examiner. The final submission is assessed by two Internal Examiners and moderated by the External Examiner. The internal examiners assess independently from each other and then meet to discuss their marks. If there is a variance of


greater than 6% the Internal Examiners revisit their marks and in light of the discussion moderate their marks accordingly.

Solo Performance

Teaching

Students select, in consultation with the Head of Academic Studies (Drama), an area of performance explored in the programme to extend into a devised solo piece. On the basis of the consultation, the Head of Academic Studies (Drama) assigns a tutor from the Drama Department. At the beginning of Term 1 of Year 3, students submit preliminary work on the devised piece to the tutor. Typically, between October and May each student has one block period of a minimum of four weeks to work on this activity. During this period in which they develop and rehearse the piece, students will normally not be able to participate in one of the productions out of the final year’s repertoire. Tutorials may take the form of discussion and/or the tutor attending a rehearsal and discussing the work-in-progress. At the end of the block, they perform a solo piece of devised theatre lasting between 10 and 15 minutes. After the performance they submit a complete script and Acting Research Journal which reflects on the process of researching and reflecting on the creative process.

Assessment

Assessment marks are given at the end of the period of study/block out. The Script is assessed by the Head of Academic Studies (Drama) and moderated by the External Examiner. The Final Presentation is assessed by two Internal Examiners and moderated by the External Examiner. The Internal Examiners assess independently from each other and then meet to discuss their marks. Where there is a variance of greater than 6% in a student’s marks, the Internal Examiners should consider at their meeting whether there is a legitimate reason for the discrepancy such as the consistency of a student’s work across the assessed performances, or whether there may have been deviation from the assessment criteria, in which case the Internal Examiners may revisit their marks and in light of the discussion moderate their marks accordingly. The Acting Research Journal is assessed by the Head of Academic Studies (Drama).


A601, A605, A606, A607, A608

B602

C602, C603, C604, C605, C606, C607

D601, D602, D603, D604, D606


12. Module Pattern

Dissertation




b) Assessment



KIS code

% Weighting

% Pass Mark

Coursework Dissertation 6000 – 7500 words

KCW 100% 40%





13. Module Pattern






b) Assessment



KIS code

% Weighting

% Pass Mark

Folio Written Work

Research Portfolio approx. 6000 – 7500 words

KCW 100% 40%






14. Module Pattern

Solo Performance




b) Assessment



KIS code

% Weighting

% Pass Mark

Folio Written Work Script KCW 25% 40% Aggregated Presentation Performance of work KPE 75%

Self-reflective account

Acting Research Journal – Satisfactory submission

KCW Pass/Fail






18.12 Voice and Movement

1. Module Title Voice and Movement

2. HE Level 6

3. Credit Value 5



6a. Module Type Taught plus coaching


7. Module Leaders Head of Voice and Head of Movement




Consolidate a practical craft training that will be a lifelong foundation for a career in

professional acting.

Encourage students to take responsibility for reaching their highest level of creative

engagement.

Indicative content:

Voice and speech

Movement

Singing coaching


Teaching

Classes in Voice and Speech and Movement introduce some new techniques, especially those appropriate to the repertoire for Productions, and extends practices developed at Levels 4 and 5 within the context of public performance. Voice and Movement coaching is also included in Production work.

Singing coaching extends repertoire and develops students work for the professional singing audition context.


Assessment

Assessment marks are given in each component at the end‐of‐year point. Each component is marked by the tutor and is composed of a mark for classwork (50%); and a mark for application of skills in Productions (50%).


A601, A602, A603, A604, A606, A607 B602, B603, B604, B605, B606 C601, C602, C603, C604, C605, C606, C607 D601, D602, D603, D604, D605

12. Module Pattern




b) Assessment



KIS code

% Weighting

% Pass Mark

Practical work Voice and speech (including application of vocal skills in Productions)

KPE 50% 40% Aggregated

Practical work Movement (including application of movement skills in Production)

KPE 50%


N/A N/A



18.13 Career Preparation

1. Module Title Career Preparation

2. HE Level 6

3. Credit Value 5





7. Module Leader Head of Acting




Educate students to meet the varied demands of the acting profession.

Indicative content:

Audition showcases

Workshops and projects

Talks

Tutorials


Teaching

Students rehearse and perform monologues and duologues in showcases, usually one classical and one modern, presented to agents and prospective employers. Visiting professional tutors advise. Students may opt to audition for various competitions including the Michael Bryant Shakespeare Competition, and may be invited to participate in other outside events such as the Sam Wanamaker Festival at Shakespeare’s Globe.

Workshops include an intensive Acting on Camera project by a professional director; interview techniques and self-presentation; voiceovers and other commercial work; and masterclasses with various other professionals.


Assessment

Students must achieve a pass based on satisfactory participation and engagement.


A601, A602, A603, A604, A606, A607, A608 B601, B602, B603, B604 C601, C602, C603, C604, C605, C606, C607, C608 D601, D602, D603, D604, D605, D606

12. Module Pattern




b) Assessment



KIS code

% Weighting

% Pass Mark

Attendance Satisfactory participation and engagement

KCW Pass/Fail Pass/Fail





19. Reading and Resources List

Students are not expected to purchase copies of all the texts listed below; the School’s library contains at least one copy of these texts.

In addition to the resources listed below, tutors/directors/practitioners may recommend specific learning materials in response to the needs of the group, the repertoire being investigated or the particular project/production. These resources may include a variety of medial such as books, articles, websites, films, exhibitions and live performances, as well as a range of art forms, such as music, painting, sculpture and architecture.

Acting

Books

Title Author Publisher Year

Alfreds, Mike

Different Every Night Nick Hern Books

2007

Alfreds, Mike

Then What Happens? Storytelling and Adapting for the Theatre

Nick Hern Books

2013

Barkworth, Peter

About Acting Methuen Drama

1991

Barr, Tony Acting for the Camera William Morrow Paperbacks (2nd Edition)

1997

Benedetti, Robert

Action! Professional Acting for Film and Television

Pearson 2006

Bogart, Anne

The Viewpoints Book: a practical guide to Viewpoints and Composition

Nick Hern 2014

Britten, Bill From Stage to Screen Bloomsbury Methuen Drama

2014

Chekhov, Michael

To the Actor Routledge 2002

Clark, Larry; McGaw, Charles

Acting is Believing 11th ed Wadsworth Publishing

2011

Donnellan, Declan

The Actor and the Target Nick Hern Books

2005

Esper, William & DiMarco, Damon

The Actor’s Art and Craft Anchor 2008

Haase, Cathy

Acting for Film Allworth Press

2003


Acting

Books


Hagen, Uta Respect for Acting John Wiley & Sons

2008

Caldarone, Marina

Actions: The Actors’ Thesaurus Nick Hern Books

2004

Johnstone, Keith

Impro Methuen Drama

2007

Lewis, Robert

Method or Madness Samuel French Inc

1986

Longwell, Dennis

Sanford Meisner on Acting Vintage 1990

Mamet, David

True and False Faber and Faber

1998

Nyman, Andy

The Golden Rules of Acting Nick Hern 2012

Shepard. John W.

Auditioning and Acting for the Camera Smith & Kraus

2004

Stanislavski, Constantin

An Actor Prepares

Bloomsbury Academic

2013

Stanislavski, Constantin

Building a Character Bloomsbury Academic

2013

Tucker, Patrick

Secrets of Screen Acting, 2nd Edition Routledge 2003

Online

YOUTUBE Michael Caine Teaches Acting In Film: Watch on YouTube

Movement

Books


Barton, Robert

Movement: On Stage and Off. Routledge 2017

Bloom, Katya The Laban Workbook for actors: a practical training guide with video

Bloomsbury Methuen Drama

2017

DuVal, Christopher

Stage Combat Arts: an Integrated Approach to Acting, Voice and Text Work + Video


2016

Ewan, Vanessa

Laban's Efforts in Action: A Movement Handbook for Actors with Online Video Resources

Bloomsbury Methuran Drama

2018

Feldenkreis, Moshe

The Potent Self North Atlantic US

2003

https://www.youtube.com/watch?v=bZPLVDwEr7Y&t=1460s


Movement

Books


Feldenkrais, Moshe

Awareness through Movement Royal New Zealand Foundation of the Blind

2015

Feldenkrais, Moshe

Body and mature behaviour (2nd Edition) North Atlantic Books,U.S.

2005

Calais-Germain, Blandine

Anatomy of Movement (2nd Edition) Princeton Book Company

2008

Loui, Annie The Physical Actor Routledge 2018

Marshall, Lorna

The Body Speaks Methuen Drama

2008

McCaw, Dick Training the Actor's Body: A Guide Bloomsbury Methuen Drama

2018

Morris, Eilon Rhythm in acting and performance: embodied approaches and understandings


2017

Murphy, Maiya

Enacting Lecoq: movement in theatre, cognition, and life

Palgrave Macmillan

2019

Newlove, Jean

Laban for All Routledge 2004

Pisk, Litz The Actor and his Body Berg 3PL 1998

Worsley, Victoria

Feldenkrais for Actors: How to Do Less and Discover More

Nick Hern 2016

Voice

Books

Title Author

Publisher Year

Berry, Cicely The Actor and the Text, and Text in Action

Virgin Books

2000

Dimon, Theodore

Your Body, Your Voice

North Atlantic Books, U.S.

2011

Houseman, Barbara

Finding Your Voice: a step by step Guide for Actors, and, Tackling Text.

Nick Hern 2007

Keith, William M. &

The Essential Guide to Rhetoric (2nd Edition)

Bedford Books

2017


Voice

Books

Title Author

Publisher Year

Lundberg, Christian O.

Leith, Sam You Talking To Me?

Profile Books Ltd

2012

Linklater, Kristin

Freeing the Natural Voice (2nd Edition)

Nick Hern 2006

MacCallion, Michael

The Voice Book

Faber & Faber

1998

Morrison, Malcolm

Clear Speech (4th Edition)

Methuen

2001

Nelson, Jeanette

The Voice Exercise Book

Nick Hern 2017

Rodenburg, Patsy

Power Presentation

Michael Joseph

2009

Rodenburg, Patsy

The Right to Speak

Methuen Drama

1992

Rodenburg, Patsy

The Need for Words

Methuen Drama

1994

Rodenburg, Patsy

The Actor Speaks

Methuen Drama

1998

Rodenburg, Patsy

Speaking Shakespeare

Methuen Drama

2005

Rodenburg, Patsy

Presence

Penguin 2009

Sharpe, Edda & Haydn Rowles, Jan

How to do Accents (2nd Edition) Oberon 2009

Truss, Lynne Eats Shoots and Leaves

Harper Collins

2009

Usher, Shaun Letters Of Note

Canongate Unbound

2013

Online

https://poetrysociety.org.uk/ Online Updated regularly

Nationalpoetrylibrary.org.uk Online Updated Regularly

Sounds.bl.uk>accents-and-dialects Online Updated Regularly

https://poets.org/ Online Updated Regularly

https://www.theroot.com/20-black-poets-you-should-know-and-love-1790868612

Online


Voice

Books

Title Author

Publisher Year

Other Resources

Books


Adichie, Chimamanda Ngozi

We Should All Be Feminists Fourth Estate

2014

Andrews, Richard

Arts Entrepreneurship: Creating a New Venture in the Arts (1st Edition)

Routledge 2019

Bassot, Barbara

The Reflective Journal (2nd Edition) Red Globe Press

2017

Bates, Brian The Way of the Actor Shambhala 1987

Berger, John Ways of Seeing Penguin 1972

Booker, Christopher

The Seven Basic Plots Continuum 2005

Boud, David; Keogh, Rosemary & Walker, David (eds.)

Reflection: turning experience into learning

Routledge 1985

Brook, Peter The Empty Space Penguin Modern Classics

2008

Cameron, Julia

The Artist’s Way Pan Books 1995

Covey, Stephen R

The Seven Habits of Highly Effective People

Simon & Schuster

2013

Davies, Martin Brett

Doing a Successful Research Project Palgrave 2007

Dunmore, Simon

An Actor’s Guide to Getting Work 5th Ed Methuen Drama

2012

Eddo-Lodge, Reni

Why I'm No Longer Talking to White People About Race

Bloomsbury 2017

Estes, Clarissa Pinkola

Women Who Run With The Wolves: Contacting the Power of the Wild Woman

Rider 2008

Eyre, Richard & Wright, Nicholas

Changing Stages: A View of British Theatre in the 20th Century

BBC Videos and Bloomsbury

2000

Fryer, Peter Staying Power: The History of Black People in Britain

Pluto Press 2018

Harrison, Eric The Five Minute Meditator Piatkus 2003


Voice

Books

Title Author

Publisher Year

Hodge, Alison

Actor Training Routledge 2010

Kushner, Saville

Personalizing Evaluation Sage Publications

2000

Lutters, Jeroen

In the Shadow of the Art Work: Art-based Learning in Practice

Valiz 2019

McGrath, John

A Good Night Out Nick Hern 1996

Moon, Jennifer A

Learning Journals: a handbook for reflective practice and professional development

Routledge 2006

Nubia, Onyeka

England’s Other Countrymen: Black Tudor Society (Blackness in Britain)

Zed Books 2019

Schon, Donald A.

The Reflective Practitioner Ashgate 1994

Shakespeare, William

Selection of Shakespeare plays in various editions

Luckett, Sharrell, & Shaffer, Tia M.

Black Acting Methods Routledge 2016

Shurtleff, Michael

Audition Players Press

1988

Tolle, Eckhart Practising the Power of Now Hodder & Stoughton

2002

Wiseman, Richard

The Luck Factor Arrow Books

2004

Zarrilli, Phillip B., McConachie, Bruce, Gary & Williams, Jay

Theatre Histories: An Introduction (2nd Edition)

Routledge 2010

Booklets prepared by Drama Department, revised annually

Entering the Third Year Starting Out

Online

Online Black Cultural Archives Online Updated Regularly

https://blackculturalarchives.org/


Voice

Books

Title Author

Publisher Year

Online www.digitaltheatreplus.com Online Updated Regularly

Online Performances, film and TV, interviews and further reading as required.

Online Updated Regularly


20. Assessment Criteria

20.1 Undergraduate Acting Assessment Criteria

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Technique and knowledge

Performance and/or creative output

Communication and artistic values

Professional protocols

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85+ An exceptionally compelling level of…

An exceptionally compelling level of…



70-85 An excellent level of… An excellent level of… An excellent level of… An excellent level

60-69 A good level of… A good level of… A good level of… A good level of…

50-59 A satisfactory level of… A satisfactory level of… A satisfactory level of… A satisfactory level of…

40-49 Most aspects at a satisfactory level of… - Command of vocal and physical skills, and acting and stagecraft techniques; - Embodiment of learning; - Accuracy of skills; - Breadth, depth and appropriateness of

Most aspects at a satisfactory level of… - Imagination and insight to connect with and reveal a dramatic situation; - Integration of believability and technique in order to connect the actor and audience; - Truth and expressiveness in acting comparable with that of a

Most aspects at a satisfactory level of… - Commitment to artistic exploration through technical, intellectual, creative and emotional processes that progress the work of the ensemble and the individual;

Most aspects at a satisfactory level of… - Maturity of self-discipline including: preparation, readiness, time-management, punctuality, attendance, engagement and personal organisation skills in comparison with


Sc

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for

lev

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4,

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6

Technique and knowledge

Performance and/or creative output

Communication and artistic values

Professional protocols

understanding and reference points; - Integration of physical/vocal/acting techniques with inner life, appropriate to the world of the play or exercise.

professional actor playing a role in a first-class company; - Ability to reveal oneself to an audience whilst transforming within a dramatic situation.

- Resilience and courage to take risks, improvise and problem solve; - Self-motivation and inventiveness in preparing and rehearsing a role; - Openness and empathy in working with others; - Contribution to the ensemble; - Ability to open oneself generously to the ensemble/creative task in order to make an enabling and creative workplace.

that of a professional actor; - Health, well-being and safety of self and group; - Attention to communication styles including performance and rehearsal etiquette, and academic conventions; - Understanding and commitment to professional codes of conduct and standards.

30-39 A generally unreliable level of…

A generally unreliable level of…



0-29 An unsatisfactory level of…

An unsatisfactory level of…

An unsatisfactory level of… An unsatisfactory level of…

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